( English / 繁體中文 )
We had rehearsed all but fights scenes in the studio version of the adaptation when the school shut down. That said, we had done all the table work including world building, character work, scene study, and had got on our feet in the studio.
在停課以前，我們已經完成所有的文本分析和角色功課、打鬥戲的以外的景全都實體排練過了。
The central questions I was trying to ask thorough this adaptation are:
Is democracy/honor worthwhile?
這個莎劇改編的核心問題是：「民主或個人榮譽是值得堅守的價值嗎？」
I have to admit that I’m not so sure how much that was shown in the final presentation as I felt being shafted by life every now and then and was very occupied by how to make the performance possible. That’s also why I kept all the crowd scenes in the studio version (though I did trim some of them.)
我必須承認我不太確定我們最後的呈現有沒有好好地傳達這個核心問題- 畢竟我們光是在形式上的轉譯就已經焦頭爛額了。但這個核心問題是我當初在進行改編時留下所有群眾景的主要原因（雖然我還是有做篇幅上的刪減）。
The only scene I cut when adapting the studio version to the online version is the last scene of Act III, where citizens tear Cinna the Poet even though they know this is not Cinna the conspirator. As the presence of the crowd is at the center of my vision for Julius Caesar, this is one of the most important scenes I wanted to keep. Then again, I couldn’t think of a way to translate the fear generated by physical violence into a virtual platform and I also felt that funeral scenes and the presence of live-chatting audiences actually did the job for what I aimed for Cinna the Poet scene and thus I gave up on it.
在群眾景這一塊，最後的演出版本裡我刪掉了第三幕最後的詩人Cinna景，但在排練場版本中，它幾乎是整齣改編最重要的其中一場戲。它的重要性在於彰顯劇中普羅大眾的盲從、衝動，和隨之而來的群眾暴力，而且是非常物理上的那種暴力。然而在試圖轉譯到虛擬平台上時，我們沒有找到與實體打鬥場景相當的呈現方式，最多能想到的就是赤裸的言語暴力；但由於這種言語暴力已經在前兩場Brutus跟Antony在喪禮上的演講以彈幕的形式傳達得很清楚，我覺得沒有重複的必要，因此才將詩人Cinna景刪除。
The visual research I did help immensely in this process. The purple I used in the live stream is also the theme color for the studio version. Design-wise, I was envisioning an environment full of balloons and the whole play begins with a feeling of a manic party is taking place. This is a world where people don’t have a shadow of doubts that their normal could change at any moment. Great persons make decisions behind closed doors that could affect all lives while all people want is to grasp any reason to celebrate. I kept this concept for the online version.
我之前為了排練場版本所搜集的視覺研究（我不太確定這樣講對不對？總之原本是 research，感覺更接近資料收集和整理）在轉換呈現平台時非常有幫助。我在直播演出中所使用的紫色原本就是排練場版本在燈光和影像設計中的主視覺顏色。原場景的設計理念是「狂歡過後」、原本打算以各種氣球和食物來佈置，後來在直播的視覺上轉化成閃爍的霓虹燈/文字。「狂歡過後」這個理念是想要建立這是一座物資並不缺乏、人人安於逸樂且對於這樣的日子將會不斷延續沒有絲毫懷疑的城市。「重要的」少數人們為大多數人做決定，人們對此並無不滿並樂於把握所有狂歡的機會。
One thing that is worth mentioning is that this is an all-women Julius Caesar Adaptation from the very beginning. I have to think more about how to articulate my reason for this choice, but for now, I’m just saying that I’ve been in many situations when all people in the room who made decisions were women and I could hardly envision this play otherwise.
此外，這是一個全女演員的製作。對於做這個決定的理由我在 06 會比較詳細解釋，但簡單來說就是我無法想像如果所有角色都不是女人的話我會怎麼導。在我心目中、在我改編《凱薩大帝》的時候，我對所有角色的想像都是生理女性。
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